Has there been a thread about John Martyn?

After I typed "menacing", I was unsure if that was an apt word, so the confirmation is great to hear. And, yes, this show is so fantastic. Some of the Old Grey Whistle Test material on the deluxe Grace & Danger is in the same vein. I still need to explore some of the other recordings of this period.

Lot of albums here I hadn't heard of; https://en.wikipedia.org/wiki/John_Martyn Curious about some of the expanded reissues, like Solid Air and Live At Leeds.

Expanded Solid Air has some gems, e.g., When It's Dark and In the Evening. The alternate takes are not that revelatory. I think one has some saxophone that's pretty cool. Expanded Grace & Danger is much more essential.

I still haven't heard Live at Leeds (I've only been listening to John Martyn for 2 months or so). But I noticed there are two different expanded editions: Island Records version and Live at Leeds and More by Recall records.

There's a fabulous instrumental version of the title track on the deluxe Solid Air. It totally works, like a tight jazz piece driven by Danny Thompson's bass. The expanded Sunday's Child includes a great solo John Peel session.

Excellent encouragement, thanks yall. Solid Air was the gateway for my friends and I---via a Creem review, I think--then some of my friends found Stormbringer, with xpost Beverly M. input upfront, and the one where she actually got co-billing, Road To Ruin. Then the even jazzier Inside Out was released, later One World was a big smoker's-shroomer's favorite in these parts.

live at Leeds is incredible, a total must have

xpost Even jazzier than Solid Air, that is. Yeah, I've never heard it! Gotta check the xpost concert youtube also.

Am I the only one put off by how "out-of-it" his vocals often sound, or is that part of the attraction? I guess I mean his enunciation in particular.

I never feel that way about Tim Buckley, for instance, which may or may not have to do with how "out-of-it" they each were when recording.

The slurred vocals? For me, that's a big part of his appeal

I was sort of struck by how different his vocals on One World sounded. Yes they’re still slurred but a lot of the tracks—“Dealer,” “Big Muff”—feature a much gruffer singing style than I’ve heard him use elsewhere.

I’ve always liked Solid Air. Weirdly not loved it. But this instrumental mix of the title track, ahem, goes down easy.

Would add that one of the things that always amazed me about Martyn was how he could sound on one track like he just gargled rocks and on the next bust out the sweetest, most delicate “Over the Hill” vocal you can imagine.

I saw him just before he died doing a "Solid Air in full" thing at the Roundhouse in London. He was carried on stage and launched apathetically into about 45 minutes of corporate blues-rock w/rock-gargling vocals. I recognised one song - Dealer - but the rest was 80s/90s stuff I think. Occasional gruff barking. He then said "Well I suppose we'd better get on with the business of the evening" and delivered the aforementioned sweetest, most delicate “Over the Hill” vocal you can imagine. Entire crowd singing along. Then the rest of the album (out of order, so as not to keep changing guitars) brilliantly, then another half hour of blues/rock crud. A memorable event.

JM invents Doom, did he often crank it up like this?

https://www.youtube.com/watch?v=lE6i_qnoAgo

ooft amazing version

Beautiful, thanks

Yeah, I've been wondering why that version isn't on the expanded One World!

xp Good lord that live "One World" is amazing. He used a similar doom fuzz effect on "Root Love" from Sunday's Child (imo his most underrated album, would be my favorite if not for One World)

I feel like I may have posted that “One World” performance two or three times on this thread already. Not that I’m complaining.

I saw him just before he died doing a "Solid Air in full" thing at the Roundhouse in London. He was carried on stage and launched apathetically into about 45 minutes of corporate blues-rock w/rock-gargling vocals. I recognised one song - Dealer - but the rest was 80s/90s stuff I think. Occasional gruff barking. He then said "Well I suppose we'd better get on with the business of the evening" and delivered the aforementioned sweetest, most delicate “Over the Hill” vocal you can imagine. Entire crowd singing along. Then the rest of the album (out of order, so as not to keep changing guitars) brilliantly, then another half hour of blues/rock crud. A memorable event.